Elsevier · Deutsch, D: The Psychology of Music, 3rd Edition · Chapter 16

Chapter 16

Sounds and video for Ch 16 Patel and Demorest.

Responses of tamarin monkeys to consonant and dissonant musical sequences [consonant_wav]. The consonant stimulus consisted of a sequence of chords composed of the octave, the fifth, and the fourth.

[dissonant_wav]. The dissonant stimuli consisted of a sequence of chords composed of minor seconds, tritones, and minor ninths.

While the  human subjects showed a preference for the consonant stimuli, the tamarin monkeys showed no preference.

McDermott, J. H., & Hauser, M. D. (2004). Are consonant intervals music to their  ears? Spontaneous acoustic preferences in a nonhuman primate. Cognition, 94, B11_B21.

Monkey music expressing emotion

 [threat-based tamarin music] 

The voice of an upset monkey mobbing a human. [upset_monkey_call.mp3]

Voice of the same monkey who has calmed down somewhat. [calmer_monkey_call.mp3]

Two passages composed by David Teie based on fear and threat calls of the tamarin. When played to the monkeys, they displayed more symptoms of anxiety.

© copyright David Teie, 2010. [anxiety_music1.mp3], [anxiety_music2.mp3]

Music composed by David Teie that calms and sooths the tamarins. When played to the monkeys, it appeared to have a calming effect on them. [threat-based tamarin music.mp3]

Snowdon, C. T., & Teie, D. (2010). Affective responses in tamarins elicited by species specific music. Biology Letters, 6, 30v32.

© copyright David Tiei, 2010

Spntaneous synchronizing to the musical beat by a sulphur-crested cockatoo

This video of the sulphur-crested cockatoo named Snowball, illustrating spontaneous synchronizing his movements to the beat of human music.

Patel, A. D., Iversen, J. R., Bregman, M. R., & Schulz, I. (2009). Experimental evidence for synchronization to a musical beat in a nonhuman animal. Current Biology, 19, 827_830.


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Cross-cultural memory performance

These stimuli are taken from a study by Demorest, Morrison, Beken & Jungbluth (2008) on cross-cultural memory performance. There is one sample file from each culture (Chinese, Turkish, Western) along with the two targets and two foils that were used in the subsequent memory task.  For the study, musically trained and untrained subjects from the United States and Turkey listened to three longer excerpts per culture followed by a 12-item memory test. Western & Turkish music served as home cultures, while Chinese music served as the "other" culture for both groups. All participants were significantly better at remembering novel music from their native culture and there were no performance differences based on musical expertise.

[Chinese 1]

[Chinese 1 Excerpt 1]

[Chinese 1 Excerpt 2]

[Chinese 1 Foil 1]

[Chinese 1 Foil 2]

[Turkish 1]

[Turkish 1 Excerpt 1]

[Turkish 1 Excerpt 2]

[Turkish 1 Foil 1]

[Turkish 1 Foil 2]

[Western 1]

[Western 1 Excerpt 1]

[Western 1 Excerpt 2]

[Western 1 Foil 1]

[Western 1 Foil 2]

Demorest, S.M.,Morrison,S.J.,Beken,M.N.,& Jungbluth,D.(2008).Lost in translation: an enculturation effect in music memory performance. Music Perception, 25, 213_223

Cross- cultural perception of emotion.

The following stimuli were used in the Balkwill, Thompson & Matsunaga (2004). study of cross-cultural emotion perception. Japanese listeners rated the expression of joy, anger and sadness in Japanese, Western, and Hindustani music. Excerpts were also rated for tempo, loudness, and complexity. Listeners were sensitive to the intended emotion in music from all three cultures, and judgments of emotion were related to judgments of acoustic cues. 





Balkwill, L. L., Thompson, W. F., & Matsunaga, R. (2004). Recognition of emotion in

Japanese, Western, and Hindustani music by Japanese listeners. Japanese Psychological Research, 46, 337_349. doi:10.1111/j.1468-5584.2004.00265.x.

Balkwill, L.L., & Thompson, W. F. (1999). A cross-cultural investigation of the perception of emotion in music: Psychophysical and cultural cues. Music Perception, 17, 43–64.